2020 OCEAN FILM FESTIVAL

Reviewed at the Hayden Orpheum Picture Palace, Cremorne, Sydney on March 5, 2020.

Rating: ★ ★ ★ ★ ½

Those special humans that feel an attachment to the world’s great bodies of water are unshakeable in their bond. Sportsman, adventurers, explorers, whether upon or below the oceans, lakes and rivers of our planet, are so steadfast in their connection to ‘The Big Blue’, it takes a rare filmmaking talent to convincingly represent their passion on screen.

The Ocean Film Festival understands both its audience and its contributing filmmakers like few events of its kind. Once again guided by Festival Director Jemima Robinson, the 2020 incarnation exudes a more pure sense of celebratory ‘oneness’ than perhaps any other edition in the festival’s history. At the Hayden Orpheum Picture Palace on Sydney’s north shore last night, the evening was enhanced by pre- and mid-show live musical accompaniment, an understated sponsor presence and warmly professional hosting skills that further united the sell-out crowd.

The two-tiered program featured seven films, beginning with the playful, funny A CAMEL FINDS WATER (Dir: Ian Durkin; 8 mins; USA), an account of how a discarded, landlocked hull was resurrected to its former glory, now serving as a run-about for two British Columbian surfers, Trevor Gordon and Tosh Clements. Evoking the same sense of joy that one derives from stories of damaged animals finding  new owners, A Camel Finds Water (pictured, above) is a short, sweet story celebrating a destiny fulfilled.

The true tragedy of how global warming has impacted polar bears is starkly conveyed in BARE EXISTENCE (Dir: Max Lowe; 19 mins; USA). Detailing how bears now need to spend long periods on shore instead of hunting seals in the open sea, Max Lowe’s bleak, beautiful film defines the connection between a township, its people and the plight of the increasingly desperate wild animals they live with. In one tragic turn-of-events, his cameras capture an act of infanticide brought on by starvation. Presented in conjunction with the conservation group Polar Bears International, it is a sobering work.

Nature’s wonder at its most beautiful and brutal is also central to the mini-feature DEEP SEA CORALS OF POLYNESIA (Dirs: Ghislain and Emmanuelle Bardout; 36 mins; France). Having achieved fame for their dives under the North Pole ice flows, Ghislain and Emmanuelle Bardout seek warmer climes in French Polynesia, where they join a team of biologists deep-diving to 170 metres to discover previously unknown forms of coral. The azure beauty of the region and emotional sense of discovery is shattered in one extraordinary moment when, in a frenzied defence of its territory, a black-tip reef shark turns on one diver; the footage is terrifying.

The second half of the evening began with SCOTT PORTELLI: SWIMMING WITH GENTLE GIANTS (Dir: Stefan Andrews; 10 mins; Australia), a profile of the acclaimed undersea wildlife photography as he interacts with humpback whales. Not for the first time this evening, like-minded audience members related audibly with the film, emitting sounds of awe at footage of mothers and their calves. Similar warmth was clearly felt for a very brief short that profiled Grace and Phil Hampton, an octogenarian couple who, in July 2017, entered the Guinness Book of Records as ‘The Oldest Married Couple to Scuba Dive.’

The 2020 Ocean Film Festival wraps up on two works of staggering visual beauty. Utilising the structure of a traditional surfing ‘road movie’, A CORNER OF THE EARTH (Dir: Spencer Frost; 26 mins; Australia) accompanies pro-surfer Fraser Dovell and his boisterous bros on a sort of ‘Endless Winter’ odyssey to the black surf of the brutally picturesque Arctic (accompanied by the night’s best soundtrack); then, a forty year-old canoe journey into Alaska’s majestic Inside Passage comes full circle, as a family’s legacy is fulfilled in THE PASSAGE (Dir: Nate Dappen; 25 mins; USA).

The spiritual connection that audiences shares with filmmakers, their protagonists and the environments on-screen make these sessions some of the most deeply rewarding on the festival calendar. That affinity for and understanding of what programming an environmentally-themed film event means to their patrons is one of the great strengths of the Ocean Film Festival.

The 2020 OCEAN FILM FESTIVAL (AUSTRALIA) is currently screening at selected venues across Australia. For all ticket and venue information, visit the event's official website.

GO!

Stars: William Lodder, Richard Roxburgh, Frances O’Connor, Anastasia Bampos, Darius Amarfio Jefferson, Cooper van Grootel and Dan Wyllie.
Writer: Steve Worland.
Director: Owen Trevor

Rating: ★ ★ ★

…or, “The Kart-y Kid.”

A young, widowed mum cuts ties with the sadness of her past life and travels cross country to give her teenage son a fresh go at young manhood. There, he finds a new father figure of sorts in an old sports recluse, who bestows wisdom upon his new charge while finding his own new lease on life.

So went John G. Avildsen’s 1984 teen classic The Karate Kid and so goes Owen Trevor’s Go!, which swaps out Ralph Macchio, Pat Morita and ‘The Crane’ for William Lodder, Richard Roxburgh and the inside lane in its shamelessly derivative but generally likable retelling of the familiar narrative. Also gone are the martial arts (except for one quick nod to the source material’s ‘junkyard brawl’ scene), with the dusty, screeching world of go-kart racing providing the new road to realising one’s potential.

Handsome newcomer Lodder impresses as Jack Hopper, a generally upbeat young man despite the loss of his dad (Adam T. Perkins, in flashback) several years prior. Why mum Christie (Frances O’Connor) decides to relocate from Sydney to Busselton, Western Australia when both seem to have overcome the worst of their grief (he died when Jack was 11, a good eight years ago) is never fully reconciled by writer Steve Worland’s sometimes patchy narrative, though dialogue and character represent a marked improvement over his previous work, Paper Planes (2014).

Christie scores Jack an invitation to the birthday party of Mandy (Anastasia Bampos), the best darn mechanic in all Busselton and daughter of local go-kart magnate Mike Zeta (Damian de Montemas, the film’s ‘Cobra Kai’-like villain). The meet will be held at the local go-kart dustbowl, overseen by world-weary crank-pot recluse, Patrick (Richard Roxburgh), whose gruff exterior hides a pain that…anyway, you get the drift. When Jack channels his inner hoon and proves to be a go-kart natural, Patrick and Mandy join his crusade to dethrone Mike’s son Dean (Cooper van Grootel, going full-Zabka) by taking it ‘all the way to the Nationals’.

As in all manifestations of The Karate Kid, the best moment in Go! is the training montage, during which the brash cockiness of the young un’ is worn down by the wise old master with the kid having no idea he is being readied for his new life goals. The ‘wax on, wax off’ scenes are played well (Karate Kid tropes are even referenced in one off-camera comment), as are those final crucial moments which indicate Daniel…I mean, Jack has learnt an important lesson about respecting your elders and growing out of the past. Mid-section has very little to do or say and conjures some minor conflicts without much conviction before getting back to the action.

In his feature directorial debut, Trevor captures the close-quarters go-kart action with an immersive energy (a professional history filming the Top Gear series proves a bonus), though he can’t breath too much life into perfunctory subplots involving Jack’s new best bud, Colin (Darius Amarfio Jefferson, in the comic sidekick role that was played by Julian Dennison in Paper Planes) and attempts by local cop Barry (Dan Wyllie) to woo Christie. A terrific collection of tunes, old and new, help bolster audience engagement, while the crowd-pleasing ending that you know is coming before you even take your seat hits all the right notes.

THE FACELESS MAN

Stars: Sophie Turling, Lucas Pittaway, Andy McPhee, Albert Goikhman, Brendan Bacon, Daniel reader, Daniel Facciolo, Lorin Kauffeld, Martin Astifo, Sunny S. Walia, Tom Vogel, Dirk Faller, Damian Oehme, Dave Beamish and Roger Ward.
Writer/Director: James Di Martino

Rating: ★ ★ ★

Exhibiting all the pros and cons of a truly unhinged independent film vision, writer/director James Di Martino allows his film-nerd subconscious to run wild with his first feature, The Faceless Man. If it didn’t propel forward with such a can’t-look-away energy and nightmarish sense of the macabre, you might side with one character when she ponders, direct to camera, “Is this a joke?”   

From the De Palma-esque single-take opening tracking shot (a father/daughter hospital scene that plays far more seriously than anything to follow), Di Martino ticks off references to his favourite filmmakers like he’s renting weeklies from his local video store. The most generic beats are in the establishment of his teen protagonists, five average nobodies who rent a pretty nice country homestead. Most central to the zigzag plotting is Emily (Sophie Thurling, giving her all), a cancer survivor who carries with her a darkness that manifests as the clawed, disfigured monster of the title (its reveal a jump-scare highlight of the film).

Such a premise is enough for most first-time directors, but Di Martino decides that while he has the cameras, he might as well have a crack at a stereotypical Tarantino/Ritchie criminal subplot, too. Seems the kids have purloined a case of top-tier narcotics that mobster Viktor Nov (Albert Goikhman, channelling 80s-era Steven Berkoff) wants back. He and his henchman arrive in the hamlet all guns blazing, only to find the local townspeople have their own anti-drug/pro-violence way-of-life.

It sounds nuts, and it largely is. But there’s a good deal of fun to be had in rummaging through the grab bag of references. If you look hard (hell, even if you don’t), you’ll find none-to-subtle nods to No Country for Old Men, Pulp Fiction, Reservoir Dogs, Scarface, Psycho, Scream, Get Out, the Elm Street films, even Home Alone; directorial styles echoed include those of Nicholas Windig Refn and giallo greats like Bava and Argento. The presence of Aussie acting giant Roger Ward instantly conjures the memory of Ozploitation classics Mad Max and Turkey Shoot and places The Faceless Man in the company of those fearless films from the Oz industry’s 10BA days.

Di Martino has been open about his battle with cancer, and it can be deduced that his love for film played a significant part in his recovery. So passionately does he homage the cult films of his generation, it is easy to forgive the often jagged scene-to-scene transitions. Tonally, the film hurtles from eccentric small town piss-takes (embodied by he-man biker ‘Barry the C**t’, played by a very funny Daniel Reader) to shocking acts of violence (a rape/murder sequence is truly disturbing). It is in Thurling’s performance that Di Martino the writer finds an ally who provides much-needed stability; her handling of his take on a survivor’s mix of anxiety and determination rings particularly true.

No doubt at all that The Faceless Man is a wildly indulgent work; the scale of Di Martino’s ambitious, convoluted vision leaves his own level of craft, that ability to keep his narrative manageable, in its wake. Yet it is that degree of unbridled daring to which the midnight-movie crowd, who gobble up such displays of all-or-nothing genre storytelling, will gravitate. The gore, giggles and film-buff fun that Di Martino delivers oozes ‘cult film’ cred from frame 1.

BLOOD VESSEL

Stars: Nathan Phillips, Alyssa Sutherland, Alex Cooke, Robert Taylor, Christopher Kirby, John Lloyd Fillingham, Mark Diaco, Vivienne Perry, Troy Larkin and Steve Young.
Writers: Justin Dix and Jordan Prosser.
Director: Justin Dix

Screening at FANGORIA x MONSTER FEST 2019 from October 31-November 4. Check the official website for session details.

Rating: ★ ★ ★ ★

Blood Vessel plays like the movie equivalent of the best cover band you’ve ever seen. Grab-bagging iconic moments from classic genre films and pumping them full of fresh energy, director Justin Dix and his ensemble of committed players offer a ripping high-seas yarn that plays as both a joyous homage to beloved horror tropes and a bloody nightmarish adventure in its own right.

The sophomore feature for effects guru Dix (his 2012 calling-card debut, Crawlspace, earned praise and profit on the genre circuit) is set during the final months of the Second World War. The Axis forces are settling scores by defying wartime convention and have torpedoed a hospital ship; the survivors, a potpourri of international characters representing the combined Allied effort, have been set adrift in a life raft.

Manliest and most level-headed amongst them are the Aussie, Sinclair (Nathan Philips) and Russian, Teplov (Alex Cooke); U.S. military might coms in the form of square-jawed Malone (Robert Taylor), upright African-American hero Jackson (a terrific Christopher Kirby) and whiny New Yorker Bigelow (Mark Diaco); flying the English flag are a nurse, Jane Prescott (Alyssa Sutherland) and cowardly code-breaker, Faraday (John Lloyd Fillingham). There is a twinkle in the eye of every performer, each recognizing that the quality dialogue and opportunity for impactful drama does not often exist in these types of old-school horror romps.

Suffering from starvation and exposure, the group are happier than they should be when a lumbering German minesweeper emerges eerily from the fog. Weighing their fatalistic odds – die slowly at sea or quickly at the hands of a crew bearing the Nazi flag – they decide to board, affording Dix the opportunity to stage an exciting action set piece to kick off proceedings. The already frayed racial tension amongst the group must soon cope with such developments as a ship devoid of crew, bar the occasional gruesome discovery, and a secured section deep below-deck that carries ancient Romanian types best left undisturbed.

Dix and co-writer Jordan Prosser clearly know and love their B-movie inspirations, and they treat that knowledge with respect in crafting the character dynamics and narrative beats of Blood Vessel. The ‘haunted/mysterious ship’ sub-genre is a rich one; Alvin Rakoff’s Death Ship (1980) and Steve Beck’s Ghost Ship (1980), most notably, but also Bruce Kessler’s 1978 TV movie Cruise into Terror and Amando de Ossorio’s 1974 Spanish shlockbuster, The Ghost Galleon, both of which exhibit elements used to great effect in this new Australian entrant.

They provide a framework, but ‘haunted boat’ movies are just the tip of the iceberg when it comes to the films to which Dix tips his hat. The German crew’s method of ensuring the horror doesn’t spread (and the lighting and camera angles adopted by DOP Sky Davies to depict the result) visually echoes the discovery of the Norwegian base in John Carpenter’s The Thing; Nurse Prescott’s relationship with a little girl they find on board (played by Ruby Hall, her appearance mirroring that of Lina Leandersson in Let The Right One In) recalls the bond between Ripley and Newt in Aliens; the whole ‘Nazis and the Occult’ angle was the spine of Spielberg’s Raiders of The Lost Ark (remember, “Hitler's a nut on the subject”).

Dix returns that which he has borrowed with interest; while horror buffs will spot the references, attention is never drawn away from the on-screen action. Bathing his supernatural thriller in rich blues, deep blacks and primal reds, Dix crafts a closed-quarters, claustrophobic nail-biter that belies its mid-range budget through the use of skillful set design, expertly rendered miniatures and icky gore effects. Genre festival berths and a long life servicing genre fans hunting for legitimate frights are assured.

TWO HEADS CREEK

Stars: Jordan Waller, Kathryn Wilder, Helen Dallimore, Gary Sweet, Kevin Harrington, Stephen Hunter, Don Bridges, Madelaine Nunn, Kent Lee, David Adlam and Kerry Armstrong.
Writer: Jordan Waller
Director: Jesse O’Brien

AUSTRALIAN PREMIERE: Saturday October 12 at Cinema Nova as part of Fangoria x Monster Fest 2019 | Melbourne.

Rating: ★ ★ ★ ★

Under the guise of a raucous, bloody horror-comedy, writer/star Jordan Waller and director Jesse O’Brien nail some timely social commentary in their wildly entertaining collaboration, Two Heads Creek. A risky rumble with the Ocker archetype, the likes of which have fallen hard in the past (remember Welcome to Woop Woop?), this U.K./Australian co-production instead rips into racial stereotypes as incisively as it does muscle and bone.  

Bolstered by high-profile Oz acting talent not usually associated with this type of splattery romp, Waller and O’Brien expose the pink underbelly of systemic bigotry through broad satire, taking to it with all manner of barbed tools, literally and figuratively. At a time when the thinly disguised politics of hatred has infiltrated the mainstream, films that take the perpetrators down a peg or two are more important than ever.

In a remarkably assured left turn from his plummy work in the TV series Victoria, Waller stars as Norman, the sole remaining proprietor of a family-owned British butcher shop facing its final days. Despite his toffee Brit blonde-ness, Norman cops constant verbal and occasionally faecal abuse from his pro-Brexit working-class community (he’s Polish, it seems). When the opportunity presents itself to head Down Under and reconnect with his birth mother, he follows the spirited guidance of his fiery sister Annabelle (the terrific Kathryn Wilder, sharing convincing sibling chemistry with her co-star) and is soon in transit to the titular township.

Arriving in the rotting remnants of a once thriving rural life along with the ubiquitous Asian tour group, Annabelle and Norman soon become acquainted with the residents - boisterous blonde Apple (Helen Dallimore); her under-the-thumb hubby Noah (Kevin Harrington); displaced German aristocrat Hans (Gary Sweet); cranky old racist Uncle Morris (Don Bridges); and, effeminate publican Eric (David Adlam). The townsfolk represent the ugly elements of old Australia, an Anglo-European enclave of entitlement and inflated self-worth, ignorant of their life collapsing around them.

With only the highbrow sci-fi Arrowhead (2016) on his feature resume, O’Brien proves a naturally gifted director of anarchic yet pointed storytelling and the perfect conduit for Waller’s fish-out-of-water protagonist. By the time the third act kicks in, and thematic subtext of ugly racism meets the gory narrative trajectory of small-town cannibalism, O’Brien and Waller’s pacing and delivery is skilfully syncopated.

A smart, yet deliriously insane take on our dangerously ridiculous modern society, Two Heads Creek plays like a Monty Python-meets-Peter ‘Braindead’ Jackson reworking of Wake in Fright; a journey into the dark heart of ugly Australian culture by way of Sideshow Alley. The redemptive ray of light at the end of the horror tunnel is the notion that prejudice and intolerance can’t win and that, ultimately, ugly racism will eat itself.

MORGANA

Stars: Morgana Muses, Petra Joy, John Oh, Anna Brownfield, Judith Lucy and Candida Royale.
Directors: Josie Hess and Isabel Pappard

WORLD PREMIERE: Melbourne International Film Festival, Friday August 16 at The Capitol Theatre.

Available from July 9-19 via Perth Revelation Film Festival's online screening event, COUCHED.

Rating: ★ ★ ★ ★

The emergence of a vibrant, creative free spirit from the constraints of societal expectation is captured with genuine affection in Morgana, co-directors Josie Hess and Isabel Peppard’s expansive yet deeply personal account of one woman’s coming-of-middle-age journey. Charting a course from the depths of despair to artistic and emotional fulfilment then back again, this frank, often funny and very moving portrait piece is an engaging crowd-pleaser, particularly for those who adhere to the sex-positive beliefs of their protagonist.

Having grown up in the harsh climes of Coober Pedy, Morgana Muses bought into the ‘suburban ideal’ of her mother’s longings and was soon constructing her own middle-class façade. Having married well and embraced motherhood, she soon found herself sadly unfulfilled in a union devoid of warmth; the dissolution of her marriage and subsequent disconnection from friends and family led to thoughts of self-harm. These moments are thoughtfully reconstructed through a ‘little boxes’ motif, in which Morgana is captured peering longingly through the windows of a grey suburban landscape.

The turning point came as Morgana’s life force was at its lowest ebb; a ‘last hurrah’ sexual experience awakened in her a hunger to explore the boundaries of what she always believed were acceptable sexual practices. With her old life fading fast, Morgana Muses reinvents herself as a feminist porn actress-filmmaker, her debut film Duty-Bound becoming an award-winning global hit that takes her from suburban Melbourne to the BDSM mecca, Berlin.

Via her friendship, co-director Hess (who features at key moments in her own doco) is afforded rare access into Morgana’s highs and lows over a period of several years; the 70-minute feature began life as a short, morphing into a frank and confronting study of mental health and its impact upon the creative process. Hess and Peppard, one of the local industry’s most respected animators and horror sector artists, are clearly advocates for the practice of ethical pornography and strong feminist ideals, but these themes, while central, never overshadow the universal humanity at the core of Morgana’s narrative.

Most importantly, the woman herself proves a complex, fearless frontwoman for her own story. Muses bares all, yet it is her physical openness which ultimately proves the least shocking of her revelations; the self-reflection and psychological torment she is willing to expose for the documentarian’s lens is first-person storytelling at its bravest. Audience empathy is so engaged that, by the time the ‘cherry-on-top’ moment happens deep in the third act, the intimacy required to fully accept every inch of Morgana Muses is comfortably in place. So sex positive and emotionally resonant is her factual film journey, everything about the body and soul baring of Morgana Muses feels convincingly empowering and wonderfully real.

Morgana Documentary - 'First Look' Teaser #2 from House of Gary on Vimeo.

PALM BEACH

Stars: Bryan Brown, Greta Scacchi, Sam Neill, Jacqueline McKenzie, Richard E. Grant, Heather Mitchell, Matilda Brown, Aaron Jeffery, Claire van der Boom and Charlie Vickers.
Writers: Joanna Murray Smith and Rachel Ward.
Director: Rachel Ward

Reviewed at the OPENING NIGHT of the 2019 Sydney Film Festival, held at the State Theatre, Sydney on June 5.

Rating: ★ ★ ½

An amiable meander across the surface of middle-age melancholy, director Rachel Ward leaves little stylistic or narrative footprint on her second feature, Palm Beach. Largely turning her film over to production designer Melinda Doring and art director Sophie Nash, Ward’s boomer friendship fantasy is light on real world issues and heavy on champers, sunshine and how life’s little hiccups can take the sheen off wealthy privilege. Unlike the vast blue expanse off the titular shoreline, this is pretty shallow stuff.

Set amongst the bushy, seaside millionaire’s row at the far end of Sydney’s northern beaches, the thematic thrust of Palm Beach addresses that mature life moment when that which fulfils you, however shallow, comes under threat. For birthday boy Frank (Bryan Brown), it might be his aimless son Dan (Charlie Vickers), who may be the by-product of a fling between Frank’s wife Charlotte (Greta Scacchi) and friend Leo (Sam Neill); for snotty cad Billy (Richard E Grant), it is his ad industry status and the aging glamour of his actress wife Eva (Heather Mitchell), herself struggling with career transition; and, for Leo’s noble wife Bridget (cast standout Jacqueline McKenzie, terribly underused), it is the life and love she has for husband and family.

Most of the first act is spent establishing the raffish bond the men share, the by-product of their days as mid-70s one-hit wonders The Pacific Sideburns (!) Having gathered at Frank’s sun-dappled mansion, they drink and sing and eat, just as Lawrence Kasdan’s ensemble did but with far greater resonance in 1983s The Big Chill (clearly the template for Ward and co-scripter, Joanna Murray-Smith). Until the is-he-isn’t-he DNA conflict kicks in, there is little dramatic thrust, scene after scene merely coasting on the charismatic presence of a cast that works hard to make their decades’ long friendship at all believable.

The narrative moves from a boozy lunch, to a fancy dinner, to a pretty picnic, with little of convincing emotional heft at stake. Laughs come cheap, including such uninspiring set-ups as a farting yoga moment, a drunk-in-a-treehouse sequence and a stiffie joke (in service of a stiffie subplot). Some rote hospital scenes allow for Brown and Scacchi to capital-E emote; the ‘genetic origins’ drama resolves in an entirely perfunctory manner (admittedly, earning one of the film's few big legitimate laughs), reinforcing it was a meagre plot device to start with.

Young support players, including the director’s daughter Matilda Brown as Frank and Charlotte’s eldest child and Claire van der Boom and Aaron Jeffery as hot-&-cold lovers, are ok; Jeffery’s Esky-carrying, beer-drinking, squared-jaw sheep farmer is so morally upstanding his working-class hero is essentially the film’s ‘noble savage’ archetype. The top-heavy cast list means many of the actors are little more than background movement for long passages (particularly Grant, who seems to disappear entirely at key moments). Australia’s diverse multicultural society gets a tokenistic look-in when an Asian doctor and a cabbie of indeterminate European origin pop up for line readings.

In her feature directorial debut Beautiful Kate (getting a retro run at this year’s Sydney Film Festival), Rachel Ward weaved a solid dramatic thriller out of a ‘secrets of the past encroaching on the present’ premise; the inherent darkness of spirit and core existential struggle present in the 2009 film seemed to energise her storytelling. No similar elements exist in Palm Beach; it merely reinforces the perception held by much of rest of The Harbour City’s population that the suburb is an elite social enclave. If it does reflect anything truthful about modern Sydney society, it is that just because you’re pretty, it doesn’t mean you’re interesting.

MAYBE TOMORROW

Stars: Tegan Crowley, Vateresio Tuikaba, Chloe Martin, Ryan A. Murphy, Fabiana Weiner, Christapor Yaacoubian, Eva Seymour, Felise Morales, Alexandra Hines and Lucy Moir.
Writers/directors: Caitlin Farrugia and Michael Jones.

WORLD PREMIERE: Gold Coast Film Festival, April 5, 2019 at Home of the Arts (HOTA), Gold Coast, Queensland.

Rating: ★ ★ ★ ½

Two wide-eyed new parents decide to double-down on the stress of raising one newborn by creating another, in the form of a no-budget indie film, in Maybe Tomorrow. A bittersweet tug-of-war two-hander showcasing shifting gender roles, the drive to be creative and the hidden responsibilities of adulthood, the latest from the writing/directing team of Caitlin Farrugia and Michael Jones plays free-spirited and loose for much of the first act before the realities of the ‘work-and-family-balance’ myth kick in.

Farrugia, Jones and their acting troupe have eked out a niche following with their slice-of-young-inner-city-life films Lazybones (2017) and So Long (2017) and Maybe Tomorrow represents a natural progression for the auteurs, both narratively and artistically. They provide warm insight into the pressure placed upon grounded but idealistic Erin (Tegan Crowley) and her partner, the responsibility-averse, man-child Pat (Vateresio Tuikaba) as they determinedly prepare to shoot what emerges as an uncomfortably raw version of their pre-parenthood life together.

Crowley is an engaging presence as Erin, a young woman for whom childbirth has led to an acceptance of personal duty; she works a part-time café job, prepares shooting schedules and affords Pat a stay-at-home lifestyle in which he fully indulges. When her psychological edges start to fray, it feels particularly real. As Pat, Tuikaba is very likable in that cool, late-20s one-time party-guy way, so the struggles he begins to face in the early stages of manhood will strike a nerve with those at a similar existential crossroads.

Michael Jones has stated that the title refers to the late night response that spouses often give each other when one feels ready for love and the other doesn’t. That explanation speaks to the inevitable lessening of physical intimacy that new parents like Erin and Pat experience, although it is a phenomenon not really explored in the film. Their degree of intimacy has extended beyond the sexual into that relationship realm where you discuss heavy periods and bad farts with graceless familiarity.

However, the term ‘Maybe Tomorrow’ also represents a generational malaise synonymous with millennial culture; an October 2018 study of US citizens aged 18-34 found they are prone to procrastination above any other demographic, a theme explored with resonance and insight by the leads (in scenes of largely improvised dialogue). Erin is striving to stay above and move beyond the more mundane aspects of her world, while Pat is only just realizing that life may seem idyllic but is in fact moving past him.

While Farrugia and Jones empathise with their protagonists, they are not above some skewering of millennial pretension; Pat’s theory of keeping apple quarters in mason jars so he can yell moods into them is hilarious. With the film-within-a-film stuttering through production, Pat uses some downtime to blend homemade kombucha, to which boom operator Eva (Eva Seymour) enquires, “What do you do on this set?” Not every scene nails its intent; that hoary old comedy bit, the ‘awkward family Christmas meal’, feels like padding, while a rehearsal montage of bad actors trying for parts in Pat and Erin’s film is overplayed.

Where Maybe Tomorrow works, and works beautifully, is in its study of the strain placed on love and commitment that dreams and desires can bring. The final frames inspire a longing for the young couple’s happiness, but play out ambiguously; we hope for their mutual fulfillment, but are left wondering whether they can make that happen for each other.

EMOCEAN

With: Brent Bielman, Baptiste Gossein, Mike Prickett, Jeff Schmucker, Dave Kalama, Jamie Mitchell, Jamie O’Brien, Trevor Carlson, Jeff Clarke, Matt Becker, Andrew Brooks, Paul Witzig, sacha Guggenheimer and Dave MacAuley.
Writer/Director: Tony Harrington

Screening at 2019 Gold Coast Film Festival, April 5 at the BCC Cinemas, Coolangatta.

Reviewed at 2019 Screenwave International Film Festival, January 20 at the Jetty Memorial Theatre, Coffs Harbour.

Rating: ★★★★½

Part lyrical ode to the lure of the sea, part giddy sports adventure travelogue, Tony Harrington’s latest epic ocean odyssey Emocean is as heartfelt a love letter as man has ever penned for The Big Blue. In seeking out the essence of our attraction to and affinity with the wild, natural wonder of the planet’s water environments, the legendary cameraman has profoundly defined humanity’s oceanic bond, while also redefining just how insightful and moving the sports-doc genre is capable of being. In the film's own words, "That metre, above and below the water, has got something special...".

Drawing upon his experiences exploring the world’s most majestic coastlines and a rolodex of global contacts whose lives are intricately linked to life underwater, Harrington finds tragedy, joy and wonder in the recollections of his interviewees. His film is most engaging when he tracks generational ties to the sea, such as the love that Western Australian pro-surfing great Dave MacAulay shares with his daughters, pro international Bronte amongst them; South Australian coastal conservation pioneer Andrew Brooks, whose vision preserved the beauty of vast waterfront bushland for surfers for years to come; and, fisherman Jeff Schmucker, whose family have lived off the bounty and beauty of the South Australia’s Eyre Peninsula for four generations.

Few documentarians can claim to have as unique an understanding of their subject’s psyche as Harrington clearly does. The families of surfers, fisherman, scientists or beach dwellers who view their connection to the ocean as integral to their very existence mirrors that of the filmmaker; in drawing out their experiences, he is exploring and questioning his own life choices in a manner that strengthens the community of which he is part. 

Most soulful of the on-camera personalities are those who have fallen victim to the dangers of the deep yet are still drawn to the life. Young French surfer Baptiste Gossein, rendered paraplegic surfing Teahupo’o, or cinematographer Mike Prickett, left wheelchair bound after rescuing his scuba partner but suffering a crippling attack of decompression sickness, aka ‘the bends’, open up to Harrington’s camera with a courage and matter-of-factness that is truly inspiring.

Of course, Harrington’s legend was built upon his surfing footage, and Emocean is most energised when it explores the compulsion that otherwise sane men have to surf waves four-storey’s high. To the surfing community, exploring the passion and personalities of such icons as Maverick’s groundbreaker Jeff Clarke, fearless conquerors of the Maui ‘Jaws’ swell like Trevor Carlson and Dave Kalama, and Pipeline great Jamie O’Brien will be worth the price of admission; the footage that accompanies their accounts of lives spent hurtling down the face of a water-walls that can reach 50-feet into the air is breathtaking (the frame-perfect editing of Trinity Ludlow Hudson is technically superb). Wipeout footage is used sparingly but delivers the bone-crunching feels when called upon.

There is an undeniable sense of destiny about Harrington’s assured direction and storytelling in Emocean, that his latest film is the one he has been building towards. It is a work that not only displays the consummate skill of a cinematic craftsman at the peak of his prowess, but also of a man who has tapped what is most profoundly essential to his life to help him forge his most potent creative statement to date.

EMOCEAN - Trailer from HarroArt on Vimeo.

SALT BRIDGE

Stars: Rajeev Khandelwal, Chelsie Preston Crayford, Usha Jadhav, Kaushik Das, Shoorjo Dasgupta, Adam Grant and Mayur Kamble.
Writers: Abhijit Deonath and Shvetal Vyas Pare.
Director: Abhijit Deonath.

Rating: ★★★½

Examining the Indian immigrant experience from a fresh and personal perspective, director Abhijit Deonath melds traditional male role-model expectations with contemporary relationship melodrama to largely winning affect in his debut feature, Salt Bridge. Shot entirely in Australia, with Sydney and Canberra locales doubling as the fictional township of the title, the long-in-production independent project will play well with diaspora populations, who all-too-rarely get to see their transplanted lives in a thoughtful big-screen narrative.

Most recently, of course, Garth Davies’ hit Lion (2016) cast an eye over the Indian expat existence; central to Deonath’s plot are the shared themes of memory and reconciliation with the past (though far less overtly stated here). The director introduces his protagonist, thirty-something medical researcher Basant (Rajeev Khandelwal) staring longingly from a train window, his mind revisiting a moment long ago that still consumes him. Khandelwal is terrific, exuding the soulful sensitivity of a man burdened with a dark past, yet every inch the classic Indian leading-man type (his brooding pout recalling Hollywood actor Jason Patric in his prime).

With his equally-photogenic wife Lipi (Usha Jadhav) and listless teen son Riju (Shoorjo Dasgupta) counting on him to fulfill his potential and provide for their new Australian suburban life, Basant decides to take driving lessons with instructor Madhurima (Chelsie Preston Crayford). Also immersed in the migrant life (she’s a New Zealander, married to an Indian), the pair soon bond in the most charming and innocent of ways. One of N.Z.’s most accomplished young actresses, Crayford (What We Do In The Shadows, 2014; Eagle vs Shark, 2007) and her leading man share a lovely chemistry, ensuring their developing platonic friendship is entirely believable.

Soon, their friends and then the wider Indian society take an interest in the new besties, assuming the most salacious, and Basant finds himself outcast from his community, his family and, regrettably, Madhurima. Having posed the question ‘Can a man and woman just be friends?’, Deonath dissects the issue within the broader context of the modern male’s role in Indian culture. His script (penned with the assistance of Shvetal Vyas Pare) succinctly embraces the hot-button topic of toxic masculinity and India’s patriarchal traditions, but does so through the filter of western cultural influence. If the story structure and momentum occasionally stumbles (most notably, a confusing sequence in the wake of a near-tragedy at the film’s midway point), Deonath’s skill with character and dialogue more than compensates.

Deonath drives home his gender subtext by focussing Basant’s research work on mitochondria, the power generator of any complex living cell, the existence of which is maternally inherited. The nods to modern science extend all the way to the film’s title – a ‘salt bridge’ occurs in proteins, creating a bond between oppositely charged residues that are sufficiently close to each other to experience electrostatic attraction; it is a deft, if slightly highbrow way, of defining the relationship between Basant and Madhurima.

Salt Bridge is a commercially savvy undertaking as well, including an explosively colourful Holi celebration and some neat dance moves, although it is far too influenced by its western setting to go ‘full Bollywood’. Australian viewers will be bemused by the people-free (and very green) parklands, empty highways, pristine cityscapes and autumnal suburban streets that provide the backdrop for the drama; it is a perception of life on these shores that plays well overseas, but is a bit of a stretch to those of us caught in the metropolitan crush of everyday life.

All tech aspects exceed any budgetary constraints, with the film looking lived-in and real while still seeming professionally polished in every respect. Especially noteworthy is Miguel Gallagher’s camerawork, whose eye for finding beauty is even on-song when framing the not-always inspirationally picturesque national capital.